Saturday, 30 March 2013

The Black Lillies - Runaway Freeway Blues

Outstanding Decorum

I received my cd copy of The Black Lilies’ latest Runaway Freeway Blues this morning, sent
in addition to the vinyl I ordered as part of the Pledge Music project they and
many other bands now employ to assist with and advertise planned/hopeful
recordings. In this download age and therefore easy but aloof access to music,
I think this is a clever way to allow fans to engage with and feel, however
small the actual impact, some connection in supporting a band.

This third studio album continues the stellar musical
trajectory of their previous work [reviewed here], especially immediate predecessor 100 Miles of Wreckage, and pedal steel therefore
infuses the many delicate songs on this release, narrative and melody aligned
thoughtfully and atmospherically, and on a track like fourth Goodbye Charlie, the storytelling peaks
in tandem to the pained grind of guitar above this layer of calm. Elsewhere,
the consummate musicianship is sustained with a rousing guitar and harmonica
combination on the Country stomper Smokestack
Lady, and this is further enhanced by the vocal partnership of Cruz
Contreras and Trisha Gene Brady that invokes Johnny and June – not so much in
sound but in spirit.

That vocal dueting and the whole bands’ superb musicianship –
this invoking as well, for example, Union Station and Old Crow Medicine Show,
cited as an absolute compliment – have their Country genealogy and thus fit a
pattern, but it is the quality of this which distinguishes rather than simply reflects.
Seventh track Ruby is the quintessential
band track, an Americana/folk tale about getting Ruby out of jail and drinkin’
corn liquor – so a rabble-rouser of sorts, Tom Pryor’s guitar scorching an
empathetic tone – when at just over three and a half minutes into the song, the
tempo slows to a gorgeous calm of acoustic guitar with weeping overlay, and
then builds again to a tempestuous and virtuoso guitar out. Brilliant.

There is a horn assisted and uptempo jaunt with penultimate
track Baby Doe, those horns blasting
bursts through the funky core. This is contrasted with largely acoustic closer Glow, pedal steel again wafting its
sweet infusions. There is an echo of Mathews Southern Comfort in its countryfolk
gentility, a tender and pleasing decorum upon which to bow out on another fine
album of sustained excellence.

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This blog is essentially for music reviews, including live gigs. Frequently heavy on 60s/70s nostalgia, the time of my musical growing-up, there is also an eclectic and contemporary range. In addition I fuel a commitment to posting themed album covers for the simple challenge and fun of it - as I've started, I'll keep going. Enjoy.